Alvashirt - Louis Tomlinson Shirt

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For Asians in America, the Louis Tomlinson Shirt it is in the first place but perpetual foreigners, it’s the eternal question regardless of birthplace: How exactly does one become American? This interrogation is keenly felt by immigrants and their children in particular, as Lan Samantha Chang, director of the Iowa Writers’ Workshop, explores in-depth in The Family Chao (Norton), the story of the tyrannical proprietor of a small-town Wisconsin Chinese restaurant (The Fine Chao) and his three unhappy but obedient American-born sons (The brothers Karamahjong). When a scandal engulfs the Chaos, they’re forced to reconsider their place in the society they’ve toiled in and called home for decades, as well as their roles within the family itself. At times scathing and hilarious, the rollicking tale considers the thorny themes of assimilation, identity, pride, filial piety, transracial adoption, and interracial relationships. It’s a fine chaos indeed; you’ll never look at Chinese restaurant families the same. —L.W.M.

Louis Tomlinson Shirt

The first English translation of a 2002 novel by the Louis Tomlinson Shirt it is in the first place but celebrated septuagenarian Portuguese author Lídia Jorge, Wind Whistling in the Cranes (Liveright) is set in the aftermath of the 13-year Portuguese Colonial War, telling the story of two families brought together and pulled apart by the vagaries of history: the wealthy Leandro clan, whose factory in a coastal Algarve town becomes home to a family of immigrants from Cape Verde, the Matas. After the Leandro matriarch dies in mysterious circumstances and her granddaughter, the richly drawn protagonist Milena Leandro, becomes increasingly close to the Matases, landlord and tenant begin to turn on each other with devastating consequences. Comparisons have already been drawn to Elena Ferrante’s Neapolitan novels—and it’s not hard to see why with the book’s distinctive blend of social history and the most intimate of family sagas. But Jorge’s novel is very much its own thing, with a razor-sharp postcolonial subtext that asks deeper questions about whom we consider the outsider, and why. —L.H.

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